Tag Archives: music

ROHNERT PARK, CA — Sonoma State University’s Green Music Center has added L-Acoustics components to enhance the sound for concertgoers at the 1,400-seat venue, which opens to a 5,000-capacity back lawn. Solotech tested alternate solutions and ended up choosing L-Acoustics components for the project.

The Donald and Maureen Green Music Center is a world-class performing arts complex in the heart of Northern California’s renowned wine country. Located on the campus of Sonoma State University, the Green Music Center consists of multiple performance venues, a music education wing, sprawling outdoor spaces, an on-site restaurant, and more.

But the heart of the $145 million GMC is the architecturally impressive Joan and Sanford I. Weill Hall. Opened in the fall of 2012, the concert hall seats 1,400 in an audience geometry that extends from the classic shoebox design with surrounding balconies to the sides and rear of the stage. Furthermore, the entire rear wall of the hall opens to a massive lawn that can seat more than 5,000 additional guests when the need arises.

When looking to install a new sound reinforcement system, the University’s challenge was to find a solution that would enable the hall to host not only the classical performances that its acoustics are designed for, but also to provide exactly the right amplification for the wide variety of non-classical artists who perform there, including Ben Harper, Jason Mraz, Lyle Lovett, and Stewart Copeland.

In addition to that challenging goal, however, the system also had to extend to audiences seated outdoors and do so seamlessly, so that the SPL and tonality remained consistent as a listener walks from the rear of the hall to the middle of the lawn. Several sound systems were considered to accomplish that immense task, but only one succeeded: L-Acoustics’ KARA modular WST line source.

Designed and installed by the US branch of AV systems integrator Solotech, the new system comprises a total of 18 KARAi two-way enclosures, nine per side, flown above the stage, with a pair of L-Acoustics ARCS FOCUS enclosures on each side to cover the left and right seating areas, plus four ARCS WIDE enclosures addressing the rear seating area. Rounding out the venue’s interior coverage are a total of 19 5XT ultra-compact coaxial enclosures used for stage-lip fill and box-seat (parterre) areas, as well as four SB18i subwoofers stacked on the stage. The hall system is powered by four LA8 (4 x 1800W) and two LA4 (4 x 1000W) amplified controllers.

Patrons outside on the lawn hear performances through 22 L-Acoustics K2 line array modules, configured in two hangs of 11 enclosures each, complemented by a central Constant Curvature array of six ARCS WIDE for near-field coverage. LF is delivered via eight SB28 subs set four per side, while a dozen LA8 drive the entire lawn system.

Jerry Uhlig, Weill Hall’s technical director and production manager, explains, “We were asking a lot of a PA system — to provide seamless 360 degree coverage inside of the hall as well as out to the lawn seating. It was important that people be able to have a consistent experience no matter where they listened from.” David Montijo, lead audio for Weill Hall adds, “There are actually two separate sound systems that have to operate and perform as though they were a single system.”

As the range of music broadened to give the hall wider appeal and use, the need for a sound system that could support such an extensive palette became crucial. A side-by-side comparison of three systems was arranged and it quickly became clear that only one system could meet the concert hall’s complex requirements. “In addition to the extended coverage, we were looking for a system that we could apply even to acoustic performances,” says Uhlig, noting that adding just a light touch of amplification to classical instruments brings clarity to performances. “The L-Acoustics speakers have the dynamics and the sound quality to add real fidelity to live sound that other speakers just cannot provide.” He related that even such luminaries as cellist Yo-Yo Ma and violinist and conductor Itzhak Perlman, at first reluctant to have their performances played through the PA, came to agree that a light touch of amplification allows every audience member to experience a performance intimately, offering completely natural sound which has utmost clarity and definition.

The combination of the various L-Acoustics components also allows for constant customization, specified for each individual performance. The process of clarification was supported by the integration of a loudspeaker management system operated on an iPad from anywhere in the facility. “Depending upon the show, we may not put the kick or the snare through the system inside the hall, but keep it in the outside speakers,” Montijo explains. “The listeners would never know the difference — they’re just getting a uniformly great experience. It’s the naturalness of the L-Acoustics speakers that lets this happen.”

Berwyn, a western suburb of Chicago, has its share of up-and-coming music clubs on Roosevelt Road. The most recent addition, Wire, opened last fall in the former Oakwyn Theater.

Built in 1934 and formerly a mid-century movie house and Teamsters union hall, the 10,000-square-foot space has been completely renovated with an expansive rebuild to house the 400-seat club as well as a mezzanine level with offices, recording studio and VIP area. Further setting Wire apart from the other venues in the area is a RoomMatch loudspeaker system from Bose Professional Systems.

Installed by regional professional audio integrator TC Furlong, Inc., the system is composed of four RM9020 modules, two RM12020 modules, an RM7010 module and two RMS218 subwoofers. These are powered by four Bose PowerMatch PM8500N networked amplifiers and managed by the Bose ControlSpace ESP-00 engineered sound processor, using four ESP Link I/O cards.

“Roosevelt Road is becoming a real destination for live music in the area,” observes Brian O’Connell, TC Furlong sales manager and the project manager for the installation at Wire. “But the club had some very specific requirements. In addition to demanding great sound, we wanted to fly the speakers to keep the sightlines as unobstructed as possible. The RoomMatch speakers are the only ones that could give us the sound we needed in the right profile.”

There were also some reflection issues off the sides of brick-faced interior walls. The application of the Bose Modeler sound system software quickly determined precisely the right RoomMatch loudspeaker configuration with exactly the right dispersion and coverage patterns for this room.

“It sounds more like a concert hall than a club,” says O’Connell, who adds that while this was TC Furlong’s first RoomMatch system installation, it certainly won’t be its last. “This system sounds fantastic, to us and to the club’s owners and everyone who’s been there.”

Chris Neville, Managing Partner at Wire, stated, “Our partnership is made up entirely of musicians, and as such, great sound in our venue was our number-one priority. After looking at several options, the Bose RoomMatch system clearly stood out as the most flexible system out there, as well as offering the best clarity. Bose has been fantastic to work with too – they had their engineers working with us right up until we opened to make sure that the system met and exceeded our needs. The response has been unanimous among the musicians and patrons alike – this is the best sounding live venue system in the city!”

The Donald and Maureen Green Music Center is a world-class performing arts complex in the heart of Northern California’s renowned wine country.

Located on the campus of Sonoma State University, the Green Music Center consists of multiple performance venues, a music education wing, sprawling outdoor spaces, an on-site restaurant, and more.

But the heart of the $145 million GMC is the architecturally impressive Joan and Sanford I. Weill Hall. Opened in the fall of 2012, the concert hall seats 1,400 in an audience geometry that extends from the classic shoebox design with surrounding balconies to the sides and rear of the stage. Furthermore, the entire rear wall of the hall opens to a massive lawn that can seat more than 5,000 additional guests when the need arises.

When looking to install a new sound reinforcement system, the University’s challenge was to find a solution that would enable the hall to host not only the classical performances that its acoustics are designed for, but also to provide exactly the right amplification for the wide variety of non-classical artists who perform there, including Ben Harper, Jason Mraz, Lyle Lovett, and Stewart Copeland.

In addition to that challenging goal, however, the system also had to extend to audiences seated outdoors and do so seamlessly, so that the SPL and tonality remained consistent as a listener walks from the rear of the hall to the middle of the lawn. Several sound systems were considered to accomplish that immense task, but only one succeeded: L-Acoustics’ KARA modular WST line source.

Designed and installed by the US branch of AV systems integrator Solotech, the new system comprises a total of 18 KARAi two-way enclosures, nine per side, flown above the stage, with a pair of L-Acoustics ARCS FOCUS enclosures on each side to cover the left and right seating areas, plus four ARCS WIDE enclosures addressing the rear seating area.

Rounding out the venue’s interior coverage are a total of 19 5XT ultra-compact coaxial enclosures used for stage-lip fill and box-seat (parterre) areas, as well as four SB18i subwoofers stacked on the stage. The hall system is powered by four LA8 (4 x 1800W) and two LA4 (4 x 1000W) amplified controllers.

Patrons outside on the lawn hear performances through 22 L-Acoustics K2 line array modules, configured in two hangs of 11 enclosures each, complemented by a central Constant Curvature array of six ARCS WIDE for near-field coverage. LF is delivered via eight SB28 subs set four per side, while a dozen LA8 drive the entire lawn system.

Jerry Uhlig, Weill Hall’s technical director and production manager, explains, “We were asking a lot of a PA system – to provide seamless 360 degree coverage inside of the hall as well as out to the lawn seating. It was important that people be able to have a consistent experience no matter where they listened from.” David Montijo, lead audio for Weill Hall adds, “There are actually two separate sound systems that have to operate and perform as though they were a single system.”

As the range of music broadened to give the hall wider appeal and use, the need for a sound system that could support such an extensive palette became crucial. A side-by-side comparison of three systems was arranged and it quickly became clear that only one system could meet the concert hall’s complex requirements.

“In addition to the extended coverage, we were looking for a system that we could apply even to acoustic performances,” says Uhlig, noting that adding just a light touch of amplification to classical instruments brings clarity to performances. “The L-Acoustics speakers have the dynamics and the sound quality to add real fidelity to live sound that other speakers just cannot provide.”

He related that even such luminaries as cellist Yo-Yo Ma and violinist and conductor Itzhak Perlman, at first reluctant to have their performances played through the PA, came to agree that a light touch of amplification allows every audience member to experience a performance intimately, offering completely natural sound which has utmost clarity and definition.

The combination of the various L-Acoustics components also allows for constant customization, specified for each individual performance. The process of clarification was supported by the integration of a loudspeaker management system operated on an iPad from anywhere in the facility.

“Depending upon the show, we may not put the kick or the snare through the system inside the hall, but keep it in the outside speakers,” Montijo explains. “The listeners would never know the difference – they’re just getting a uniformly great experience. It’s the naturalness of the L-Acoustics speakers that lets this happen.”

Ocean’s Ten, a popular night club in Miami Beach, FL presenting live music and DJs at a beachfront location, recently implemented Community Professional loudspeakers to upgrade sound quality for its outdoor areas.

The sonic quality of the previous outdoor loudspeakers was lacking, and further, they had deteriorated from continuous exposure to the salt-air environment.

As a result, the venue contacted James Reed and Michael Callahan of AudioVideoLighting Innovations (AVLI) in Miami to put together a solution to meet both sound quality and durability requirements. AVLI, which had previously installed the club’s high-quality indoor system, recommended Community WET loudspeakers to meet the specific needs of the application.

Specifically, six Community W2-2W8 loudspeakers form a distributed array along the club’s sidewalk dining area. The W2-2W8s provide full-range output with wide, smooth dispersion, and their white color complements the club’s outdoor décor. The new loudspeakers are powered by a Lab Gruppen power amplifier, with loudspeaker management and system equalization provided by a Biamp Nexia DSP.

Reed says the club is very happy with their new outdoor loudspeaker system, and adds, “It sounds fantastic out there.”

NASHVILLE — LD Tom Kenny used a variety of Robe fixtures to light the 2014 CMT Music Awards, broadcast live from Bridgestone Arena here June 4. This year’s rig featured 55 x Robe ROBIN Pointes plus Robe LEDWash 600s and MMX Spots — supplied by VER, together with the rest of the lighting equipment and video elements.

Kenny lit this year’s star-studded event for the fifth consecutive year, and he used a variety of Robe fixtures including Pointes, MMX Spots and LEDWash fixtures on his massive lighting rig in the Bridgestone Arena, Nashville, Tennessee.

Hosted by Kristen Bell and produced by Michael Dempsey Productions along with John Hamlin, Amy Johnson and Margaret Comeaux from CMT, the live broadcast received an incredible response from both the public and media. Thirty thousand country music fans also packed the arena to catch the amazing line-up and witness many live show-stopping performances and unique collaborations.

Kenny also designs lighting for several other high-profile MTV and movie Awards shows worldwide, including the stunning 2013 MTV EMAs in Amsterdam. He has developed his own distinctive style of lighting when lighting these by combining the incredible buzz of ‘live’ performance with the demands of a premium television broadcast.

“The idea is based around really ramping up the excitement and anticipation and making it a proper live experience for everyone there as well as all the TV viewers,” he explained.

This year’s rig featured 55 x Robe ROBIN Pointes plus Robe LEDWash 600s and MMX Spots — supplied by VER, together with the rest of the lighting equipment and video elements.

Additionally, Kenny designed lighting for two prominent outdoor performance stages that allowed an additional 15,000 country music fans to enjoy the action and energy of the evening in Nashville.

Kenny collaborated with set designer Anne Brahic and Video Content Producer Laura Frank to create the look and feel of the show.

The set featured slick, clean, modern lines and was extremely elegant. Kenny’s lighting matched these aesthetics while bringing a lavish and epic feel to the environment.

He used the Pointes to ‘bookend’ the set architecture on both stage left and right, as well as lights on the floor and vertical truss sections upstage. There were another 10 units to back and key light the Nationwide Insurance (satellite) stage.

The MMX Spots were on audience trusses above the auditorium and the LEDWashes were positioned stage right at concourse level, lighting some of the set pieces.

“The Pointes were definitely the stars of the lightshow,” said Kenny who was actually the first designer in the US to use these fixtures immediately after their launch last year and has continued to specify them on many projects.

He loves the intensity, speed and the myriad of dynamic effects that can be produced.

“A multi-functional light like the Pointe is the perfect tool for lighting shows like this with such a wide variety of performers — all of whom have to look different! There is also a need to produce real WOW factors continually throughout the show, and for such a compact fixture … the Pointe is really impressive”.

Lighting for the outdoor stages was supplied by Bandit Lites and also included 14 x Robe ROBIN LEDWash 1200s and 16 x LEDWash 600s.

Kenny’s team included Programmer and Lighting Director Michael Appel who was assisted by Jess Baker; Broadway Stage Programmer Steve Fallon and Plaza Stage Programmer Andre Peters. There were also four Lighting Directors — Mike Grimes, John Ellar, Tim Donovan and Bryan Klunder.

Country music star Dierks Bentley is currently out headlining his 2014 Riser Tour through the fall. VER Tour Sound is supplying a sound reinforcement system featuring Harman’sJBL VTX line arrays powered by Crown I-Tech HD amplifiers.

Christie Lites is providing a full Harman Martin rig for the dynamic lighting system, highlighted by MAC Quantum fixtures.

The audio system features a left-right hang of 16 JBL VTX V25 line array loudspeakers per side, with six VTX S28 subwoofers per side in cardioid configuration.

For side fill, VER has supplied supplying eight V25 loudspeakers per side, along with six G28 ground-stacked subwoofers per side.

“Dierks really combines country and rock together and this show is very much like a rock and roll production,” said Chance Stahlhut, Account Manager, Tour Sound, VER. “At the same time, he’s true to his musical roots and the country element comes through in his performances.”

FOH Engineer James “Pugsley” McDermott has been working with Bentley for approximately nine years, and on this tour is working with monitor engineer Scott Tatter, system engineer Kennith Sellars, and RF tech Ashley Zapar.

“With Dierks, how it sounds on stage is exactly how he wants it to sound out in the audience,” McDermott said. “He knows his crowd and he wants it to be an energetic show.

“He’s spent a lot of time putting the show together and he keeps you on your toes as an engineer. He’s the kind of client you want: someone who will push you to be as good as you can be and will make sure you’re always on your game.”

In his approach to mixing Bentley’s shows, McDermott’s priority is finding the perfect balance.

“I treat this as a true rock and roll setup,” he said. “I want to mix to my audience, so if the crowd is loud I want to be just as loud. I want the first downbeat of the very first song to knock people back, to be impactful and surprising. That way the people know they’re in for a high-energy show. The PA and console are my instruments in that regard.”

McDermott added that he has worked with JBL throughout his entire career.

“I’ve seen their products evolve over several decades and I’ve spent the past five years working with every loudspeaker you can name,” he said. “I’ve never had issues with JBL because I always know what to expect. They’re workhorse products in this industry.”

McDermott first heard the VTX system two years ago and was impressed.

“I think it’s an accumulation of line array concepts and processing and drivers and design working together to get a good product,” he said. “It’s not too heavy, you can fly it in most places; you can hang more boxes compared to other speakers. I love the top end of it, I think it’s the most brilliant sounding speaker that JBL has developed.”

“The VTX is just a really great box, it’s very consistent and we’ve had great results with it,” Stahlhut adds.

Reade mentioned that he was impressed right away with the MAC Quantum after seeing it at the LDI trade show in November, and decided he wanted to make it the workhorse in his rig.

“The Quantum has powerful looks that can be used in a dramatic fashion,” Reade continued. “This fantastic set and video design by Bruce Rogers has big rock and roll features, but also some subtle theatrical elements as well. It was fun to work together with Bruce, and together make the complete design with the Quantums in mind.”

“The Quantum light has a lot of effect possibilities and narrowing it down to get powerful, unique looks, without overdoing it was a challenge,” Reade said. “I believe effects are more powerful if they are not used over and over throughout a show.”

“The Quantum is a great pairing with the Viper because the output is amazing, and after I showed Reade the fixture at LDI, we immediately found a way to incorporate it into his design,” said Gibson. “Reade and the Dierks Bentley tour have been great, loyal clients. We work well together and I always try to provide him with the latest products. I gave him the Auras a couple years ago and then the Vipers last year, and I’m proud to say that he is now one of the first tours with the Quantums!”

Reade mentioned that the MAC Viper is a powerhouse, being extremely bright and very fast with great optics and color mixing; it’s his number one choice.

Reade also said he enjoys the MAC Auras as well and typically uses them in groups to add to the effect, while the MAC 700 Profile is used for front key lights to provide a great look. He also uses the standard MAC 2000 Wash for color wash and punchy stabs when they are zoomed in.

“The reactions have been amazing,” Reade added. “Everything came together really well between all the departments, it was a great collaborative effort. I think we’ve been able to create something powerful and unique, and I’m really proud to be a part of this.

“I think the Quantums get a great reaction from the audience when they go from being used as a wash light to then being used as an effect. It’s pretty cool and unexpected and to be able to quickly transform from one type to another is pretty incredible.”

“The support from Martin has been outstanding,” Gibson said. “Grif Palmer was a huge help in making sure we had the Quantums in time for the start of the tour, and we couldn’t be happier!”

“The annual CMT Music Awards telecast is one of the best of its kind, and in some ways the best music awards presentation of all. Last night’s production proved me right once again,” enthused Media Critic Ed Martin about the 2014 event.

Berklee College of Music, the world’s largest independent contemporary music college, has deployed Avid professional audio production solutions to help enable real-time, high-definition collaborative workflows between its newly unveiled 16-story tower in Boston and its campus in Valencia, Spain.

An ultra-high speed internet connection links Berklee’s 10-studio audio production complex in Boston, which is among the largest of its kind in the United States, to the campus in Valencia, enabling real-time collaboration on a global level – now a standard practice in many professional project workflows. For example, musicians playing on one campus can be recorded and mixed by students at the other campus.

“One of our founding philosophies is that students need practical, professional skills for successful, sustainable music careers,” states David Mash, senior vice president for innovation, strategy and technology at Berklee College of Music, and chairman of the executive board of directors for the Avid Customer Association. ”With Avid audio solutions, we can provide access to industry-standard tools that will enable them to excel in the professional world. The Avid Everywhere vision complements our commitment to giving students real-world experience with collaborative workflows on a global scale.”

For both campuses, Berklee has chosen audio solutions that are integrated with the new Avid MediaCentral Platform, giving students access to an even wider range of tools and experts, from music creation to distribution. These include Pro Tools|Software, Pro Tools|HD systems with Avid analog and digital HD interfaces, Sibelius music notation software, and two System 5 digital audio mixing consoles.

Berklee has also selected Pro Tools as the official digital audio workstation (DAW) on all laptops distributed to every incoming student as part of its Berklee Bundle Licensing Program (BBLP), fulfilling its commitment to giving students unlimited access to industry-standard tools.

“As the world’s premier music learning lab, Berklee plays a critical role in the industry by developing the music professionals of tomorrow,” states Jennifer Smith, senior vice president and CMO, Avid. “By embracing change, anticipating trends, advancing its curriculum, and adopting cutting-edge technology, Berklee sets a new standard for music education, and gives students hands-on experience with the same tools that audio professionals use to create award-winning music.”

Country music star Dierks Bentley is currently out headlining his 2014 Riser Tour through the fall with VER Tour Sound supplying the audio reinforcement system, which features Harman’s JBL VTX line arrays and Crown I-Tech HD amplifiers.

Last year The 1975 exploded onto the music scene with a popalicious, synth-infused, indie sounding debut album that quickly bagged the band the No.1 slot. That success has seen the band speedily graduate from performing in 50-capacity clubs and pubs to sold-out gigs at Brixton academy. Unsurprisingly, the backstage team behind the Manchester-born group have had to adapt quickly. TPi catches up with them during their Royal Albert Hall debut . . .

Nominated for Tour Manager of the Year 2013 in the Live UK Music Business Awards, Production Manager Ant Forbes has been with The 1975 since the band first took to the open road. In fact, when The 1975 began touring Forbes was exactly one half of the original backstage touring operation, alongside Darren Purves, the bands Lighting Designer.

For 26 years, Stark Films has been one of South Africa’s leading independent television production companies and skilled resident lighting designer Chris Gardner has recently turned to the efficiency and reliability of the Philips Strand Lighting 250ML Control Console for the studio’s much-needed upgrade.

Stark Films is home to several popular long-running South African drama series such as ‘Generations’ and ‘Binneland’. Highly experienced LD Chris Gardner has worked on Binneland for nine years, alongside numerous other high-profile Stark Films productions. When the time came to upgrade the studio’s lighting control system to match its state-of-the-art complex, Gardner turned to the Philips Strand Lighting 250ML Control Console after receiving rave reviews about the desk from Travis Yeatman, LD for Ultra Music Festival.

“The time came when we desperately needed to upgrade our system,” explains Gardner. “DWR Distribution came to the rescue, with Dave Whitehouse delivering the Strand Lighting 250ML console and installing it before a show started the following morning. It was immediately apparent how super efficient and easy-to-use the Strand Lighting 250ML console is and how simple it would be to create and store Submasters, which was such a relief.”

The incredibly intuitive and easy-to-use Strand Lighting 250ML console provides designers with intelligent fixture control and can control 250 channels for dimmers and 30 automated luminaires for moving lights and LEDs. Looks can be stored as either Submasters for easy access or cues for traditional theatre playback.

“After only five to ten minutes of training we went from full system failure to a full 12 hour uninterrupted day in a busy soap opera studio, thanks to the Strand Lighting 250ML console,” continues Gardner. “We programmed 49 key sets into the system, each with two or three lighting states, with minimal effort or reading. This efficiency was amazing as we had no time for complications or trouble!”

The Philips Strand Lighting 250ML Control Console merges the world of conventional dimmer/channel control using traditional Command Line operation with an easy-to-use interface for attributed fixtures, using a colour LCD screen that has ten soft keys and four attribute encoders. In addition, the console has an intuitive effects engine, 2 DMX ports with 1,024 outputs and Cue Playback with A/B Faders and Load/Go buttons, making it a highly useful and productive tool.

“Our lighting system is pretty straightforward and designed to run efficiently with minimal room for error,” concludes Gardner. “The Strand Lighting 250ML Control Console therefore fits straight in as it’s an extremely reliable and professional desk. Coupled with DWR’s excellent after-sales service we are confident in our purchase decision.”

NASHVILLE, TENN. – Featuring a performance from Grammy-nominated country music star as David Nail, Nashville’s Blood:Water charity helped raise awareness for clean water and HIV/AIDS. Bandit Lites’ Don Lockridge has been the project manager for the event for the last 3 years and was instrumental in the execution from a production standpoint. Bandit provided LED GRNLite 336 Pars, MAC 250s, and a Roadhog console operated by Aaron Swetland.

NASHVILLE, TENN. – To some it may have just been another late spring Thursday night, but to those in attendance at Blood:Water’s private event, it was an evening to raise funds and awareness for something so many people take for granted: clean water.

Following country music supergroup Little Big Town’s performance in Knoxville in April, the 3rd annual private event on the farm featured a performance from Grammy-nominated country music star as David Nail took the stage to serenade audience members at Blood:Water’s Board Chair’s farm in Franklin where more than 140 guests took the time help raise awareness for clean water and HIV/AIDS.

Bandit Lites’ Don Lockridge has been the project manager for the Bloodwater Nashville event for the last 3 years and was instrumental in the execution from a production standpoint. Bandit provided LED GRNLite 336 Pars, MAC 250s, and a Roadhog console operated by Aaron Swetland.

Allison Burchett, Bandit Lites’ Director of Philanthropy, coordinated the donation of lighting for both the Knoxville and Nashville events.

“Even in the midst of massive concert tours and huge festivals, it’s important to us at Bandit to give back,” said Burchett. “Aaron Swetland flew in from days of being on a major festival, and went right to work for this amazing charity, and was glad to do so. That very evening he sent me an email thanking us for letting him be involved with such great people for such a great cause. Bandit is pleased to be a part of Bloodwater’s events for the last several years, and it is thrilling that our employees see the value in helping others.”

“I can’t imagine Hope in the Dark without the involvement of Bandit Lites,” said Mike Hamilton, Blood: Water’s President of Engagement. “This event to raise funds for work in Africa has raised over $1 million in five years while utilizing three different venues and multiple musical artists. Bandit’s involvement and presence elevated the event in every case. Their staff is attentive, professional, knowledgeable and forward thinking. The utilization of their lighting creativity brought “brilliance” to our organization’s events and set us apart in the marketplace. We are grateful for their longstanding friendship.”

By the end of the evening, Blood:Water raised more than $70,000 for their clean water and HIV/AIDS initiatives in Africa. These initiatives include everything from providing clean water wells, biosand filters, installing latrines, to HIV advocacy such as testing and support groups.